Audio Monitoring
Audio Monitoring
Audio Monitoring
Introduction
A picture may say a thousand words, but the addition of audio completes the viewing experience. If viewers
experience audio problems as they watch a program, they will believe the associated video material is of lower
quality compared to the same video signal with no audio problems. Therefore, it is essential to ensure the quality
of the audio signal.
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Audio Monitoring
Application Note
Balanced Signals
The shield attenuates the effects of external electric fields. However, because no
shield can completely eliminate interference, fields penetrating the shield are
imposed equally on both the inverted and
non-inverted signals. This signal becomes
a common-mode signal to the input circuits. See Figure 2.
Balanced audio systems employ either
electronic or transformer-based differential
input stages. Differential inputs subtract
the inverted input from the non-inverted
input. Due to this behavior, common-mode
signals are cancelled. The balanced format
is popular in professional applications
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Audio Monitoring
Application Note
XLR Pin
Inverted
XLR Pin
Shield
XLR Pin
One must ensure the cables used within the facility are correctly wired
to prevent problems within the facility such as polarity reversal.
The simplest form of audio monitoring is to use a level meter that displays the audio signal amplitude. There are two types of metering, a VU
(Volume Unit) meter or a PPM (Peak Program Meter), and there are
important differences between them. VU meters and PPMs present different responses to audio program material. The VU meter displays the
average volume level of the audio signal and has symmetrical rise and
fall times with a relatively long integration time (typically 300 ms). The
integration time is strongly influenced by the mechanical inertia of the
needle mechanism. A PPM displays the peak volume level of the audio
signal with a fast rise time (10 ms), a slow fall time (2.85 s) and a
10 ms integration time. Electronic circuits compensate for the inertia of
any mechanical variation in the PPM. Because of these differences, it
is rare for a VU meter and PPM to have identical responses to audio
program material.
When lining up a system with a test tone, the PPM must read lower
than the VU meter to make them equivalent using the same audio program. Broadcast authorities have found that 8 dB (decibel) is a good
average difference between peak-to-reading ratio of the PPM and VU
meter. Hence, they have specified that a line-up tone reading of 0 VU
on the VU meter should read 8 dB on the PPM. With this alignment,
both meters will read substantially the same with audio program material, with the PPM giving more reliable control of program peak levels.
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Audio Monitoring
Application Note
V = Voltage
R = Resistance
audio signal levels. The dB scale is a logarithmic function either expressing a voltage or power measurement. Using the dB scale allows us to quantify
changes in audio signal, because the human ear
senses changes in amplitude on a logarithmic basis.
dB = 20 log
V2
V1
= 10 log
P2
P1
V2
Note: P =
R
The left and right input signals are applied to an X-Y display similar to
a vectorscope. The left channel is applied to the N-S axis and right signal content on the E-W axis, as seen in Figure 5. Many audio professionals are more familiar with the Sound Stage mode that simply
rotates the display by 45 degrees to more easily visualize correct phasing of the channels, as shown in Figure 6. The Lissajous display provides instantaneous feedback of the overall energy distribution during a
remix. The pattern orientation indicates at a glance whether the present mix is balanced or concentrated to either side. Figures 7, 8, and 9
illustrate different energy distributions.
An audio monitor can clearly indicate errors within the program material such as clipping which manifests itself on the Lissajous display by a
Squaring Off of the pattern edges. Figure 10 illustrates a severe case
of clipping.
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Audio Monitoring
Application Note
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Audio Monitoring
Application Note
Figure 11A. Left and right channels matched in phase and gain.
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Figure 11B. Left and right channels matched in gain but phase reversed.
Audio Monitoring
Application Note
reversal can be quickly identified. A correctly phased signal will produce a straight
vertical line on the sound-stage Lissajous
display. If the signal is phase reversed, the
Lissajous display will indicate a horizontal
line within the display.
Digital Audio
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Audio Monitoring
Application Note
Preceding State 1
Identification
11100010
00011101
Sub-Frame 1
11100100
00011011
Sub-Frame 2
11101000
00010111
When a 20-bit audio sample is used, the four least significant bits
(LSB) can be used for auxiliary data. One application for these auxiliary
data bits is for use as a voice-quality audio channel to provide a talkback channel. Otherwise, these bits can be used to carry the four LSBs
of a 24-bit audio sample.
Audio sample data bits
The audio sample data is placed between bits 4 to 27 with the most
significant bit (MSB) placed at bit 27 and supporting a maximum sample of 24 bits. If not all the 24 bits are used for an audio data sample,
the LSBs are set to 0. Typically within broadcast facilities, an audio
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sample of 20 bits is used. This allows for auxiliary data channel within
the four LSBs from 4 to 8.
The 20-bit audio sample is used for most applications within a broadcast environment. However, a 24-bit audio sample is supported in
AES/EBU by using the sample bits from 4 to 27 and not providing any
auxiliary data bits. The binary audio data sample is 2s-complement
encoded. Using this simple technique greatly reduces the complexity of
the audio hardware design.
The subframes also carry additional data bits, which provide useful
information on the audio channels.
Audio Monitoring
Application Note
2S Complement Code
The 2s complement coding scheme uses the Most Significant Bit (MSB) to indicate the positive or negative nature of
the signal. If the MSB is set to 0, the value indicates a positive number. If the MSB is set to 1, the value is a negative
number. The following example shows the possible range for a 2-bit number in 2s complement coding:
Positive Numbers
3
11
2
10
Positive values add a leading zero
1
01
0
00
011
010
001
000
Negative Numbers
1
01
Add
2
10
Leading
3
11
Zero
4
00
111
110
101
100
001
010
011
000
When the validity bit is set to 0, the subframes audio data is suitable
for decoding to analog audio. If the validity bit is set to 1, the audio
sample data is not suitable for decoding to an analog audio signal. Test
equipment can be set up to ignore the validity bit and continue to use
the data for measurement purposes.
User data bit (U)
The user data bits can be used to carry additional information about
the audio signal. Each U bit from the 192 subframes can be assembled
together to produce a total of 192 bits per block. The operator can use
this information for such purposes as copyright information.
Channel status bit (C)
Invert
110
101
100
111
Add 1
The parity bit is set such that the values of bits 4 to 31 form an even
parity (even number of ones) used as a simple means of error checking
to detect an error within a subframe. Note that it is not necessary to
include the preambles since they already have even parity.
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Audio Monitoring
Application Note
Byte
0
Use of Channel
Status Channel
Audio/non-audio
use
1
2
5
Locking of
source sampling
frequency
Channel Mode
Reserved
Reserved
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
Reliability flags
23
AES Interconnection
There are two basic connection types that can carry the AES/EBU serial
digital data. A standard XLR can be used to carry the digital signal over
a twisted pair cable. Pins 2 and 3 carry the balanced data signal and
pin 1 is used as the shield. Note that since the signal is polarity insensitive, it does not matter which of the two wires is connected to pins 2
and 3. However convention defines pin 2 as positive and pin 3 as
negative.
Table 4. Balanced output configuration
Signal +
XLR Pin
Signal
XLR Pin
Shield
XLR Pin
1
Figure 16. Male XLR connector.
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Sampling frequency
3
4
Reserved
Audio Monitoring
Application Note
Setting Levels
There are several differences to understand when setting levels and interpreting
the digital audio signal. The maximum digital audio value is represented by an audio
sample of all 1s that is referred to as
0 dBFS (decibels Full Scale). Clipping may
occur if the original analog audio signal
exceeds this value and produces distortions in the audio signal. Additionally the
digital audio signal may produce a high
analog amplitude when converted back to
the analog domain. This is because the low
pass filter that is added to the analog output stage of the conversion process gives
rise to higher analog amplitude signal level
than the digital value represents.
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Audio Monitoring
Application Note
12
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The display can also be configured to look at the specific data values
individually in binary (Figure 21), hex, or XMSN binary order.
Audio Monitoring
Application Note
The multiplexing of audio data within the Serial Digital Interface (SDI) is
defined by the following standards for standard definition (SD) and high
definition (HD) video formats:
SMPTE 272M Formatting AES/EBU Audio and Auxiliary Data
into Digital Video Ancillary Data Space for standard definition
to be used within SMPTE 259M
SMPTE 299M 24-Bit Digital Audio Format for HDTV Bit Serial
Interface to be used within SMPTE 292M
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Audio Monitoring
Application Note
the 24 bits of audio data are carried as one packet. Audio data is
located in the HANC area for both SD and HD formats. Additional
extended data is also carried within HANC for SD systems. In SD, the
Cb/Y/Cr/Y (Y is the co-sited luma sample and Y is the independent
luma sample) carry the audio data whereas in HD format, the Cb/Cr
data words are used for audio data and the Y sample is used to carry
an optional audio control packet which is transmitted once per field on
the second line after the switching point. This may not be required if
the audio data rate is using a 48 kHz clock. During the switching point
of the appropriate video format, no audio data is present within HANC.
In standard definition, no audio is present during the Error Detection
Handling insertion.
Up to 16 channels of embedded audio are specified for HANC, which is
assembled into four groups, each containing four audio data channels.
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Audio Monitoring
Application Note
X+1
X+2
B9
NOT B8
NOT B8
NOT B8
B8
AUD 5
AUD 14
P*
B7
AUD 4
AUD 13
B6
AUD 3
AUD 12
B5
AUD 2
AUD 11
B4
AUD 1
AUD 10
AUD 19 (MSB)
B3
AUD 0
AUD 9
AUD 18
B2
CH 1
AUD 8
AUD 17
B1
CH 2
AUD 7
AUD 16
B0
Z-BIT
AUD 6
AUD 15
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Audio Monitoring
Application Note
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Audio Monitoring
Application Note
Audio Data
Packet
Extended
Data Packet
Audio Control
Packet
Group 1
1-4
2FFh
1FEh
1EFh
Group 2
5-8
1FDh
2FCh
2EEh
Group 3
9-12
1FBh
2FAh
2EDh
Group 4
13-16
2F9h
1F8h
1ECh
In component digital video, the receiver buffer in an audio demultiplexer is not a critical issue since there is sufficient data space available.
For this reason, the standard requires a receiver buffer of 64 samples
per channel with a grandfather clause of 48 samples per channel to
warn designers of the limitations in older equipment. In the standard,
Level A defines a sample distribution allowing use of a 48 sample-perchannel receiver buffer while other levels generally require the use of
the specified 64-sample buffer.
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Audio Monitoring
Application Note
There are some similarities and several differences in the implementation of AES/EBU within an HD environment. The formatting of the ancillary data packets is the same between SD and HD. The information
contained within the user data is different because the full 24 bits of
audio data are sent as a group and not split-up into 20 bits of audio
data and an extended packet containing the four auxiliary bits.
Therefore the total number of bits used in HD is 29 bits (compared
with 23 bits in SD), the 24 bits of audio data are placed in four ancillary data words along with C, V, U, and Z-bit flag. Additionally, the CLK
(Audio Clock Phase Data) and ECC (Error Correction Code) words are
added to the packet as shown in Figure 27. Since the full 24 bits of
audio data are carried within the user data, there is no extended data
packet used within HD.
Conformance to the ancillary data packet structure means that the
Ancillary Data Flag (ADF) has a three-word value of 000 h, 3FFh, 3FFh,
per SMPTE 291M. The one-word DID has the following values to identi-
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Group 1
Audio
Channels
Audio Data
Packet
Audio Control
Packet
1-4
2E7h
1E3h
Group 2
5-8
1E6h
2E2h
Group 3
9-12
1E5h
2E1h
Group 4
13-16
2E4h
1E0h
Audio Monitoring
Application Note
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Audio Monitoring
Application Note
20
UDW2
UDW3
UDW4
UDW5
B9
NOT B8
NOT B8
NOT B8
NOT B8
B8
EVEN PARITY
EVEN PARITY
EVEN PARITY
EVEN PARITY
B7
AUD1 3
AUD1 11
AUD1 19
P1
B6
AUD1 2
AUD1 10
AUD1 18
C1
B5
AUD1 1
AUD1 9
AUD1 17
U1
B4
AUD1 0
AUD1 8
AUD1 16
V1
B3
AUD1 7
AUD1 15
AUD1 23 (MSB)
B2
AUD1 6
AUD1 14
AUD1 22
B1
AUD1 5
AUD1 13
AUD1 21
B0
AUD1 4
AUD1 12
AUD1 20
Bit
UDW6
UDW7
UDW8
UDW9
B9
NOT B8
NOT B8
NOT B8
NOT B8
B8
EVEN PARITY
EVEN PARITY
EVEN PARITY
EVEN PARITY
B7
AUD2 3
AUD2 11
AUD2 19
P2
B6
AUD2 2
AUD2 10
AUD2 18
C2
B5
AUD2 1
AUD2 9
AUD2 17
U2
B4
AUD2 0
AUD2 8
AUD2 16
V2
B3
AUD2 7
AUD2 15
AUD2 23 (MSB)
B2
AUD2 6
AUD2 14
AUD2 22
B1
AUD2 5
AUD2 13
AUD2 21
B0
AUD2 4
AUD2 12
AUD2 20
Bit
UDW10
UDW11
UDW12
UDW13
B9
NOT B8
NOT B8
NOT B8
NOT B8
B8
EVEN PARITY
EVEN PARITY
EVEN PARITY
EVEN PARITY
B7
AUD3 3
AUD3 11
AUD3 19
P3
B6
AUD3 2
AUD3 10
AUD3 18
C3
B5
AUD3 1
AUD3 9
AUD3 17
U3
B4
AUD3 0
AUD3 8
AUD316
V3
B3
AUD3 7
AUD3 15
AUD3 23 (MSB)
B2
AUD3 6
AUD3 14
AUD3 22
B1
AUD3 5
AUD3 13
AUD3 21
B0
AUD3 4
AUD3 12
AUD3 20
Bit
UDW14
UDW15
UDW16
UDW17
B9
NOT B8
NOT B8
NOT B8
NOT B8
B8
EVEN PARITY
EVEN PARITY
EVEN PARITY
EVEN PARITY
B7
AUD4 3
AUD4 11
AUD4 19
P4
B6
AUD4 2
AUD4 10
AUD4 18
C4
B5
AUD4 1
AUD4 9
AUD4 17
U4
B4
AUD4 0
AUD4 8
AUD4 16
V4
B3
AUD4 7
AUD4 15
AUD4 23 (MSB)
B2
AUD4 6
AUD4 14
AUD4 22
B1
AUD4 5
AUD4 13
AUD4 21
B0
AUD4 4
AUD4 12
AUD4 20
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Audio Monitoring
Application Note
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Audio Monitoring
Application Note
Appendix A
Channel Status Protocol
BYTE 0
Bit 0
Bit 1
Bits 2-4
Non-Audio Mode
234
000
100
No emphasis
110
111
Bits 4-7
Bits 6-7
67
00
01
10
11
0123
0000
0001
0010
0011
Bit 0-2
Stereo
0101
0110
0111
1000
1001
1111
Multichannel mode
All other states are reserved for future use
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0001
0010
0011
User defined
0100
012
000
001
010
011
Bits 3-5
012
000
Primary/Secondary mode
0100
0000
BYTE 2
BYTE 1
Bit 0-3
4567
001
23 bits
19 bits
010
22 bits
18 bits
011
21 bits
17 bits
100
20 bits
16 bits
101
24 bits
20 bits
01
00
01
10
11
Audio Monitoring
Application Note
BYTE 3
Bit 7
Bits 0-6
Bit 7
No scaling
456
000
Multi-channel mode 0
100
Multi-channel mode 4
010
Multi-channel mode 2
110
Multi-channel mode 3
111
Bits 0-7
Bits 0-7
Bits 0-7
Bits 0-7
Bits 0-7
BYTE 6-9
BYTE 10-13
BYTE 14-17
Bits 0-1
01
00
01
10
11
Bit 4
Bytes 0 to 5
Reserved
Bit 5
Bytes 6 to 13
Sampling frequency
Bit 6
Bytes 14 to 17
0000
Not indicated
Bit 7
Bytes 18 to 21
0001
24 kHz
0010
96 kHz
Bits 0-7
0011
192 kHz
0100
Reserved
0101
Reserved
0110
Reserved
0111
Reserved
1000
Reserved
1001
22.05 kHz
1010
88.2 kHz
1011
176.4 kHz
Bit 2
Bits 3-6
BYTE 18-21
3456
1100
Reserved
1101
Reserved
1110
Reserved
1111
User defined
BYTE 22
Bits 0-3
BYTE 23
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Audio Monitoring
Application Note
Contact Tektronix:
WFM700 Family of
Waveform Monitors
Monitors and measures HD and SD signals in a single unit
HD and SD eye pattern measurements
and jitter displays
Configurable/modular architecture
WVR600 Series
Waveform Rasterizer
TG700 Multiformat
Video Generator
Multiformat analog and digital test signal generation
Modular expandable platform
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Copyright 2003, Tektronix, Inc. All rights reserved. Tektronix products are covered by U.S. and
foreign patents, issued and pending. Information in this publication supersedes that in all
previously published material. Specification and price change privileges reserved. TEKTRONIX and
TEK are registered trademarks of Tektronix, Inc. All other trade names referenced are the service
marks, trademarks or registered trademarks of their respective companies.
03/03 TD/XBS
21W-16463-1